Mac and Music News

VistaFX is a suite of effects processing engines capable of providing high-quality world-renowned Lexicon effects, and was released last year as an external engine for the Vista 5 and Vista 9 consoles ranges.

The Vista 1 FX engines are all integral to the consoles DSP system, so require no external signal connection or patching. As all the hardware required already exists within the console, the new functionality is available as a software upgrade to existing consoles as well as provided as standard in new systems, and without loss of mix processing power or I/O capacity.

Within the mic, the ribbon remains true to the original 44, handcrafted to the exact specifications first prescribed in the 1930s by RCA; however, everything else has been upgraded using state of the art materials, manufacturing processes and technology. Powered by Cloud’s award-winning ultra-clean Cloudlifter circuitry, the 44-A is an active ribbon mic with personality from the past plus all the robustness and clarity required for even the most demanding recording tasks.

Titan is a USB multi-track audio interface for personal recording and sound production, for professional musicians, songwriters, engineers and producers as well as recording studios, post production facilities and scoring stages. Titan is ideal for music and sound recording, multitracking, overdubbing, stem-based mastering, analogue summing and critical listening applications.

Titan provides Prism Sound's renowned performance, sound quality and state-of-the-art clock technology in a dedicated unit compatible with both Windows (Vista, 7 and 8, 32 and 64 bit, ASIO as well as MAC OS X 10.4.11 and later (Intel). Once configured with a computer, Titan can also operate stand-alone using its S/PDIF or AES3 I/O.

Building on API's rich heritage of extremely high-quality recording consoles, THE BOX is a small-format recording/mixing console designed for professional project studios, home studios, and production facilities of all kinds.

Optimized for the digital era, THE BOX handles all the functions needed for production not provided by most DAWs, including mic preamps, input signal processing, high-quality mix bus, cue sends with talkback, monitor control, and more, without the redundant capacities of larger consoles. Most importantly, THE BOX provides the legendary "all discrete" API sound in an efficient, cost-effective package.

The newly developed sound transducer, inspired by one of Neumann’s top-of-the-line microphones, the D-01, is impressive with its outstanding impulse fidelity. The great consistency of the five polar patterns, omnidirectional, cardioid and figure-8, with the intermediate patterns wide-angle cardioid and hypercardioid, is also unusual for a large-diaphragm capsule. The TLM 107 provides optimal sound not only for the cardioid setting; it also ensures maximum precision over the entire frequency range for all of the other directional characteristics. The sound always remains balanced, with an almost linear reproduction up to 8 kHz, and a slight boost in the highest frequencies that lends presence and freshness to the voice. Here particular attention has been paid to the natural reproduction of speech sounds, especially the critical “sî sound. The grille is acoustically optimized for low sensitivity to pop sounds. In addition, the sound transducer is edge-terminated, with both diaphragms at ground voltage. Specifically, this ensures considerably reduced sensitivity to dust and humidity.
No-Compromise Sound Design
Transformerless circuitry permits a high degree of linearity and a large dynamic range. The self-noise of only 10 dB-A is practically inaudible, while at the same time, the TLM 107 features high level stability. The maximum sound pressure level of 141 dB SPL can be increased to 153 dB SPL via pre-attenuation (Pad). This enables the TLM 107 to transmit the sound of even the loudest instruments without distortion. The Low Cut settings of Linear, 40 Hz, and 100 Hz are precisely adapted to practical recording situations. Without side effects, the 40 Hz setting cuts interference noise below the range of fundamental tones (where 41 Hz is the frequency of the double bass open E string), while the 100 Hz setting is optimized for speech and vocals (where 100 Hz corresponds to the lowest notes of a baritone).

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